Generative Design
From Maze
(Difference between revisions)
(→10 Print... in the Wild) | (Changed formating of "10 Print" to italics) | ||
| Line 1: | Line 1: | ||
| − | One of the most striking aspects of the maze program is its continuous generation. The maze is constructed one tile at a time and builds until the program is stopped. With the calculation of which line to draw, left or right, an unpredictable maze unfolds from one of the near-infinite possible variations. While this variation and unpredictability is possible without software, the precision and speed of computing machines lead to new design possibilities. The 10 Print... software is a concise, minimal example of this potential. | + | One of the most striking aspects of the maze program is its continuous generation. The maze is constructed one tile at a time and builds until the program is stopped. With the calculation of which line to draw, left or right, an unpredictable maze unfolds from one of the near-infinite possible variations. While this variation and unpredictability is possible without software, the precision and speed of computing machines lead to new design possibilities. The ''10 Print'' software is a concise, minimal example of this potential. |
The potential of digital computers to generate images was first explored in the 1960s by researchers around the world, most publicly in England, Germany, the United States, and Japan. The Cybernetic Serendipity exhibition in 1968 at the Institute of Contemporary Art (ICA) in London was the most public and best documented exhibition to catalog this early exploration. The primary theme of the exhibition was the computer as a creative tool; it covered innovations created by artists and engineers within the domains of music, poetry, sculpture, and visual art. | The potential of digital computers to generate images was first explored in the 1960s by researchers around the world, most publicly in England, Germany, the United States, and Japan. The Cybernetic Serendipity exhibition in 1968 at the Institute of Contemporary Art (ICA) in London was the most public and best documented exhibition to catalog this early exploration. The primary theme of the exhibition was the computer as a creative tool; it covered innovations created by artists and engineers within the domains of music, poetry, sculpture, and visual art. | ||
| Line 23: | Line 23: | ||
[Note: This section is about exploring the “design” of the program, outside of the C64 platform.] | [Note: This section is about exploring the “design” of the program, outside of the C64 platform.] | ||
| − | The essence of the 10 Print... program is making a selection between drawing a line from the upper-left to lower-right corner of a unit or from the lower-left to the upper-right, then drawing that line on screen to the right of the previous unit. When the current horizontal line is full, the next line moves to the left edge and starts a new line below the previous. When this core algorithm is removed from the 1982 limitations of the C64 and a CRT screen, more design possibilities emerge. | + | The essence of the ''10 Print'' program is making a selection between drawing a line from the upper-left to lower-right corner of a unit or from the lower-left to the upper-right, then drawing that line on screen to the right of the previous unit. When the current horizontal line is full, the next line moves to the left edge and starts a new line below the previous. When this core algorithm is removed from the 1982 limitations of the C64 and a CRT screen, more design possibilities emerge. |
| − | ==10 Print... in the Wild== | + | ==''10 Print'' in the Wild== |
[Note: This section describes visually and conceptually related programs from the history of art and computer graphics.] | [Note: This section describes visually and conceptually related programs from the history of art and computer graphics.] | ||
| − | The history of art and computer graphics reveals a few similar explorations that pre-date and are contemporary to the first known appearance of the 10 Print... program on paper. | + | The history of art and computer graphics reveals a few similar explorations that pre-date and are contemporary to the first known appearance of the ''10 Print'' program on paper. |
Frieder Nake's 1966 explorations titled “Walk Through Raster” has a strong resemblance to some of the C64 variations possible with alternative characters. The primary difference is Nake's changing density from the corners and edges. This could easily be simulated with a new, longer BASIC program, but it's not possible in one line of code. | Frieder Nake's 1966 explorations titled “Walk Through Raster” has a strong resemblance to some of the C64 variations possible with alternative characters. The primary difference is Nake's changing density from the corners and edges. This could easily be simulated with a new, longer BASIC program, but it's not possible in one line of code. | ||
| Line 36: | Line 36: | ||
[Insert “Walk Through Raster” Figures] | [Insert “Walk Through Raster” Figures] | ||
| − | Vera Molnar's “Interruptions” series, is a less-literally related to 10 Print..., but maintains the essence... [MORE] | + | Vera Molnar's “Interruptions” series, is a less-literally related to ''10 Print'', but maintains the essence... [MORE] |
| − | Sol LeWitt's Wall Drawing #358 from 1981 has a striking similarity to 10 Print... by creating an arc to connect the corners, rather than a strait line. The decision to draw and arc also requires four shapes instead of two because arcs can be concave or convex. LeWitt defines this drawing as three sentences: | + | Sol LeWitt's Wall Drawing #358 from 1981 has a striking similarity to ''10 Print''' by creating an arc to connect the corners, rather than a strait line. The decision to draw and arc also requires four shapes instead of two because arcs can be concave or convex. LeWitt defines this drawing as three sentences: |
358. A 12" (30 cm) grid covering the wall. | 358. A 12" (30 cm) grid covering the wall. | ||
